This is an educational short animation about the origins of a simple chemical system that likely
preceeded the first cell.

Fernando Lopez-Lezcano

Video: Instant Knoll

Title: iICEsCcRrEeAaMm

1998 [8:06]

iICEsCcRrEeAaMm is a beta, er.. I mean alpha version of a new
multichannel tape piece I'm still working on. As in the software
world, Marketing informs me that in future versions bugs will be
squashed and new features will be added for the benefit of all
listeners. "iscream" refers to the origin of most of the concrete sound
materials used in the piece. Screams and various other utterances from
all of Chris Chafe's kids were digitally recorded in all their
chilling and quite upsetting beauty. They were latter digitally fed
into the "grani" sample grinder, a granular synthesis instrument
developed by the composer. "ICECREAM" refers to the reward the kids (and
myself) got after the screaming studio session. The piece was composed
in the digital domain using Bill Schottstaedt's Common Lisp Music.
Many software instruments and quite a few other samples of real world
sounds made their way into the bitstream.

A two-screen video installation with sound, accompanied live by music by Chris Chafe.

Johnny Hwin

Title: Bird Death

Length: 2:02

Written in a fit of insanity, this collage of bird calls draws influences from the Night of the Undead
film and other zombie horror flicks.

Arie Stavchansky (video)
Per Bloland (music)

Title: Graveshift

choreography by Kristen Glennon, Barbara Javors

raindrop dancers:

Kristen Glennon
Barbara Javors
Scott Marlowe
Brazie Mata
Bevin Mraw

voice performance: Barbara Javors

Through a rain-streaked cafe window, surveillance of a street scene is
digitally transformed into a fluid chaos comprised of paranoia, ghostly
figures, and alterations of reality. Echoes of a forgotten song float
above the milieu, now gaining, now loosing coherence. It is an image
plagued by distortion, but this distortion emerges from quietness and
recedes once again into the same.

Graveshift was conceived as a cross-discipline collaboration including
video, music, and live dance.

"Well! I've often seen a cat without a grin, but a grin without a cat! Its the most curious thing I ever
saw in all my life." Bewilderment similar to that of Alice in Wonderland will be expressed by anyone
attempting to concisely describe the CD-ROM bearing the subtitle "Chamber Music" by Kiyoshi
Furukawa and Masaki Fujihata. The normal arrangement foresees musicians, instruments, and a
score that records a composer's musical intentions. With a view to making chamber music, four
string instrument players might meet up, unpack their instruments, place sheet music on the stands,
and proceed to play a string quartet. Whereas Small Fish players slide the silver disk into their
computer and immediately discover a topsy-turvy world. The music is not coaxed from the
instruments but performed upon a score which was specially designed by Fujihata and varies
according to the music produced. And while composer Furukawa has specified merely timbres and
their potential combination, the player is expected to compose the music - and the latter turns out
differently every time.

CG Images by Gregory Niemeyer and Christine Liu
CGI Character Design by Lorenzo Wang
Story written by Gregory Niemeyer

Organum is a playground for anticipated changes, adaptations and evolutions of the human body.
Organum is a collection of ideas and projects by a collection of people sometimes called Network
Character.

Musical:
The eerie sound of the theremin is backed by computer synths and percussion. Most of my music
is based around improvisation and this piece is no exception. I start with some pre-composed
percussion and synth tracks and develop the music from there.

Technical:
The "guitar" is actually a custom built theremin, the first electronic instrument. Two brass plates
control pitch and volume by detecting body capacitance. The raw theremin sound is processed by
software (Ableton Live). The keyboard controls software MIDI synths in Live. MIDI percussion can be
altered in real-time depending on how the improvisation develops.

Jesse Fox

Title: Improvisation for Dancers and DelMatic

Length: 10 min.

Musical:
An improvised collaboration for dancers and a MIDI-keyboard-controlled computer instrument
called the DelMatic.

Technical:
The computer instrument used in this piece utilizes nothing but a set of delay lines with variable
delay length and feedback coefficients. Audio input is written into delay lines and read back in real
time, while the keyboardist manipulates delay parameters in response to the performance material.
Audio input is transformed into textural material, whose pitch is determined by input from the
keyboard. In essence, this is real-time wavetable synthesis with live input as the wavetable material.

5:3 was composed for [sic]--the Stanford Improvisation Collective. It involves 8 cracklebox
players and 2 amplified dice rollers. The dice rollers throw 4- and 8-sided dice which control the
display of 8 colored, laminated cards. The cards--while saying nothing about what music the
cracklebox players should play--instruct them on meta-performance matters: when to play, where to
face, when to move or be stationary, etc.

Program Notes:CheckMate (2005) by Rodrigo Segnini & Woon Seoung Yeo
In a chess game, the importance of a piece is circumstantial. While a queen or a
tower are ranked higher for its potential in terms of reach, a pawn, more limited in
its movements can still be decisive due to its location at a particular time in the
game.
Thus, it can be said that the player's intention is what singularizes a piece, and given
the effect of their interaction in any pre-formulated plans, the state of the game also
becomes a factor.
This framework results in an equalizer of sorts, where every piece waits for its time
and the player's intent to acquire its real personality.
CheckMate explores this scenario by producing music related to the intention of the
dancers and their movements. The sound's dimensions will vary according to each
piece and the state of the game. Images are also projected following the same rules,
not necessarily in concordance with the audio. These relationships are controlled live
by the composers on stage.
As in chess, this approach can prove a deceitful strategy; intent, if well hidden, can
be a terrific weapon and then it is too late...check mate.
CheckMate is inspired in Reunion, a collaborative performance spearheaded by John
Cage in 1968 where he and others, including Marcel Duchamp, played a kind of
sonified chess in front of an audience.

1-2 composers with laptop(s) on stage or a vantage position therefrom with
audio (multichannel if possible) and video outputs.
2-32 dancers (black & white coloring suggested); their participation should reflect an
understanding of the purposes and the inspiration source stated in the program
above.

Max Matthews

Title: Runs

Program Notes:Runs is an improvisation for the radio-baton.
the performer controls six factors with the x,y,z
positions of two batons which he wields. the name, runs, comes
from pitch does not follow but rather chases
the x position of the #1 radio-baton. amplitude,
tempo, and pitch interval between successive notes
follow x & y of the #2 baton and y of the
#1 baton. z of the #1 baton turns everything on
or off. z of the #2 baton is a sustain pedal

Program Notes:
The jazz ballad Quintessence is a signature solo performance of alto saxophonist Phil Woods that was first recorded with the Quincy Jones Orchestra in 1961. In this performance, the "Radio Saxophone" will be used to provide a new musical and physical interpretation. The "Radio Saxophone" project attempts to reclaim the expressive (and sometimes unnecessary) movements of a saxophonist for musical control. The capacitive sensing system takes advantage of the conductivity of saxophone brass, using the instrument as a radio transmitter. By analyzing the signals received at nearby antennas, the 3D position of the saxophone is determined and used to control timbre and effects parameters in a computer processing the saxophone samples in real-time.